03 January 2012

Chris Dahlen on Dark Souls and, in particular, how it uses “difficulty” not as “a club the designers bash you with, but the palette with which they paint the experience.“:

In music, film, and literature, difficult works provoke the same kind of response. We talk about them in terms of whether we can deal with them: War and Peace is too long, Ulysses is too opaque, Lars Von Trier’s films are too disturbing. Audiences may balk at a work because it’s unfamiliar, complicated, opaque, taboo, exhausting, unpleasant to the senses, and so on—but in every case, the audience has to think about that barrier and make sure they’re ready to cross it. We wonder, are we the problem? Or is the work failing us? Is it challenging because the challenge is key to the form, the message, and the experience—or is it challenging because the artist is a jerk? If the artist has a message to send us—well, to paraphrase Samuel Goldwyn, why couldn’t they just send us a telegram?

Games shed new light on this old debate, because here, challenge is understood from the get-go as being integral to the experience. All games test their players, and the players accept that they are taking a test and they will be graded. By comparison, if you read a great short story, your failure to respond to it happens in the privacy of your mind.

…

The primary language of Dark Souls is difficulty. The game paces and varies that difficulty with the same craft that goes into its character builds, sound effects, and environmental design, and with the same purpose: to explore distinct, exquisitely-realized variations on one unified experience. What starts as a dare is revealed to be the reward.

Too long a quote to go into Pinboard, so onto the blog it goes in full. And do read the whole article; it’s thoughtful and as with all Chris’ stuff, well-written.

This is very true: "There’s too much emphasis on the significance of the placement, which is trivial in this medium, and not enough emphasis on creating good AR art, which is hard… rather than try injecting AR pieces into popular venues, I’d like to see someone focus on AR pieces so compelling that people are willing to travel to see them. That would be revolutionary."

"Grit: The skills for success and how they are grown, a new Young Foundation book published on Tuesday 30 June argues that Britain's schools need to prioritise grit and self-discipline. Drawing on evidence from around the world it shows that these contribute as much to success at work and in life as IQ and academic qualifications."

"What’s happening here is a very neat trick. While Link can move a single pixel at a time, in any direction, the longer he continously moves in any direction the more he gravitates toward aligning himself with the underlying grid of the screen." Lovely little analysis of the different ways the original Legend of Zelda, and the subsequent Link to the Past, subtly correct the player's input to ensure they never feel cheated by pixel-perfect hit detection.

"Mirror's Edge is not a perfect game, perhaps, but it is something more important: it is an interesting game. It can be played and experienced on its own terms, for its own sake, if players would only allow themselves to take a single videogame specimen at face value rather than as yet another data point on the endless trudge toward realistic perfection." Ian Bogost taking a considered approach to Mirror's Edge.

"'Why do you build your own computers?' Gloria asked earlier this week. 'Why don't you buy just buy one that's already built?' … It's because computers are fire… If I was a caveman (I'd be dead, because I can't see clearly two feet in front of myself without glasses, but that's not the point), I wouldn't go to the guy who discovered fire and ask if I get a light off his torch. I might let him explain the process–documentation, as it were–but then I'd go off, hold the torch backwards, cut myself with the flint, and generally do it wrong."

The Offworld 20 "…isn't just a list of independently made and under-appreciated games, it's a list of the games that celebrate what makes Offworld Offworld: the beautiful and the bizarre, and the games trying to push the medium forward and give us something we've never seen before, in whatever incremental way." Smashing. I love Offworld already, and this is a lovely list.

"Monopoly, in spite being the classiest of all board games, unfortunately is packaged just as boringly and uncreatively as every other garbage board game on the shelves. So, I decided to repackage it… turning the class up to 11." Very pretty, but I miss the original typeface: the 30s-style sans-serif was very important to the tone.

"…my feeling is that the barriers to verismilitude in video games aren't technological– lighting effects, texture work, mocapping– but /technical/. They're matters of technique, mastering the extant toolset in order to produce the novelistic details that make for the feeling of authentic transport. Game design doesn't need a better camera, or a holodeck. What it requires is old-fashioned artistry and imaginativeness, an obsessive and nerdish Flaubert who will come along and show us how games work."

"I am a terrible gaming evangelist. Every time I think I’m onto something my mind’s invaded by Marcus Fenix and his sweaty, homoerotic pecs, by Cloud and his implausible sword and cod-philosophy and, most poignantly, by me, in my pajamas aged nine playing Tetris on the toilet and by me, in my pajamas aged twenty-nine, playing Tetris on the toilet." And Simon powers straight into /my/ favourite games writing of 2008. Bravo.

"It’s easy to roll your eyes at the people who look at an Xbox 360 controller or Dual Shock and say it’s too complicated. “Left 4 Dead” proves there are hardcore experiences — not just Wii and DS games — that can draw them in…but the controller remains a challenge that won’t be easily overcome." I'd never roll my eyes; modern pads are very complicated, and twin-stick move/shoot is one of the hardest skills to acquire. Still, a nice piece of commentary on what learning to use a controller looks like, and a healthy reminder.

"So when I play Fallout 3, and I think this is probably true for most people who are over forty, some part of me is always wondering if this is what it really would have been like. Not in terms of enemies, but in the way that humans banded together into small groups to create enough order to survive." Bill Harris on a perspective on Fallout 3 that I'll never have.

"Yes, it's true that at no time while playing Prince of Persia did I feel any of the frustration that I felt on a regular basis in Mirror's Edge. But neither did I ever feel the joy of doing something right, of stringing together a perfect series of vaults and wall-runs and feeling like it was based on my own skill. Can one exist without the other? Is it impossible to create joy without difficulty? I don't know. But Prince of Persia lost something significant." I'm a bit worried about the new Prince, especially having read this; the challenge/reward balance is hugely important to it as a series, especially since the marvellous Sands of Time. Also, more worryingly: are developers shying away from letting players fail any more?

"As the about page says, if you live exactly 6 minutes from Sunset Tunnel East Portal, 8 minutes from Duboce and Church, and 10 minutes from Church Station you may find it useful too." Bespoke tools for yourself that might happen to be useful to others. I like this a lot.

"The Firefox add-on "Pirates of the Amazon" inserts a "download 4 free" button on Amazon, which links to corresponding Piratebay BitTorrents. The add-on lowers the technical barrier to enable anyone to choose between "add to shopping cart" or "download 4 free". Are you a pirate?" Almost certainly not the first example; perhaps one of the best realised.

"That's how I got here. How long will it be before someone builds a raft and sets sail in space? Bill Gates has over fifty billion dollars. What if Richard Garriott had fifty billion dollars? If he wanted to, would that be enough money to build a rocket to get him into space, and a self-sustaining environment in which he could live? Would he want to sail away and never come back? … No matter what happened in our future, [whoever built that raft] would forever be the first. A thousand years from now, people would remember his name." Bill Harris is awesome.

"I still consider glass to be an extreme craft – you’re working with and fighting gravity and momentum in those 60 seconds before it starts to harden – but you learn to take your time, even if there are lots of moments of extreme concentration to keep a piece from disintegrating." Chris writes up his glass-blowing course; sounds great.

"Perhaps the problem is that we so deeply rely on reference points like film, which require stories progressing over time, when we could be referring to things like sculpture or painting, which require no timescale and people find just as moving." Some good thoughts from Jonathan Blow; I think his point about games' unique ability to challenge is an important one.

"Rohrer is trying to make art in a medium that most people don't even think is capable of art. He can create this space of pure freedom, as artists have done in the past — isolation, introspection, ascetic poverty. But ultimately he has to send these works out into the world, and people have to respond to them. And right now the audience doesn't know what to do with them." Fantastic writing from Esquire; mature, sensible, and at no point apologist.

"The 'better sequel' mentality is damaging both to the games industry and to the quality of games journalism. It is a deferral of critical responsibility, a patronising pat on the head for the developer who dared to dream and fell short in some mythically vital way. I don't want to be frustrated by dodgy controls either, but then I'm willing to blunder through if I'm going to get an experience I never had before." And this is why I've been sticking with it; I think Keith is on the right lines with this quotation.

"Someday I hope game designers really are seen as trusted personal trainers, and that we have the chance to take people through proven processes that pay off in the long run. More gamesight, a surprising social safety net and support system, a more engaging environment, a higher quality of life." You trust a good designer to deliver good experience, regardless of the pain they put you through.

"Unknown games are always the best ones… They are always stronger, funnier, cleverer and better-executed than their realities and so that walk home from the store, when the game is tangible in your hands but still imagined in your mind, is oftentimes the most potent moment in the videogame experience." A lovely piece from Simon on what the end of a certain kind of retail experience will really mean.

"Steve Rose notes that the recent films have seen Bond visit and destroy as much villain-architecture as ever ("The villains are the creators; Bond is the destroyer. He's basically an enemy of architecture"), and suggests this can be traced back to Fleming's difficulties with Modernist architects." Rod on Bond is always good, and bonus points for the punning title.

"A series looking at different aspects of guardian.co.uk's rebuild and redesign project, which ran from October 2005 to September 2008." Looks like there's going to be some good stuff emerging from this; great to see the Guardian making it so public.